A tender setting of this famous text features a gentle soprano solo line over a tender choral lullaby. The choral writing presents accessible and limited registers, while the soprano solo will be a great opportunity for one of your finer singers.

This work is dedicated to the memory of the legendary choral director Paul Salamunovich and his favorite musical genre of Gregorian chant. The composer has written an original chant in the Gregorian style with undulating musical phrases shaped in the ancient style but with contemporary harmonic structures, creating both a familiar and yet unsettling new requiem. Published in the Dale Warland Choral Series.

MORNINGSTAR MUSIC PUBLISHERS (click on the titles to go directly to publisher’s site)

In a truly unique arrangement of this Christmas favorite on the tune GLORIA, the composer establishes a motif with a repeated “Gloria” theme creating a rhythmic pulse that is prevalent throughout the piece. Part of the “Christmas With the Singers” series.

A hushed, quiet mood is established as the first line of this favorite carol is sung in unison by soprano voices. The arranger uses the familiar Cradle Song tune, and utilizes tight harmonic structural writing throughout. A peaceful, calming arrangement. Part of the Christmas with the Singers series.

Luscious harmonies and rich textures permeate the writing in this piece. This a cappella setting features the melody primarily in the soprano and uses the other voices to establish a layered accompaniment to that melody.

This piece features lush choral writing that can be effectively accompanied on either piano, harp or guitar. The well-known English text is clearly presented making this appropriate for use in both worship services and concert settings. Part of the Christmas with the Singers series.

A joyful a cappella setting of this grand Christmas carol MENDELSSOHN. The composer keeps the focus on the traditional melody handing it off to different voices throughout the piece. Soaring glorias as well as additional text painting throughout makes this a challenging and beautiful piece. Appropriate for worship or concert use. Part of the Christmas with the Singers series.

From the outset a unique choral accompaniment is established, incorporating a vibrant rhythmic motif that is prevalent throughout the piece. The melody is easily identifiable throughout, and a quiet energy makes this an exciting setting. Set on the tune IN DULCI JUBILO. Particularly effective for advanced choirs. Part of the Christmas with the Singers series.

The original music, both delicate and nuanced, casts the “Infant Holy, Infant Lowly” text in a new light from the traditional hymn setting. The sweeping melodies will cause the listener to envision soothing the newly-born babe in his cradle. Commissioned by the Youth Chorale of Central Minnesota, this work is a perfect choice to highlight the youth choir during the Christmas season, though adult choirs will cherish this music all the same.

This traditional carol is set here with luscious harmonies and flowing lines on the tune FOREST GREEN. The choral writing allows for each voice part to shine. Part of the “Christmas With the Singers” series featuring music performed and recorded by The Singers.

A lush combination of voices and instruments makes this setting of this Early American hymn a piece that will be a favorite of both choirs and congregations. Set on the hymn tune RESIGNATION. The accompaniment is equally effective with either piano or harp.

This setting reflects Matthew Cullotonâ??s gift for hearing something traditional in a brand new way that still feels comforting and familiar. The first verse is set entirely in unison, but is ethereal and lovely. The basses are assigned the melody in the second verse, and the third verse is full SATB. The flute/violin floats high above, reinforcing the melody in places. Reproducible part for Flute or Violin included.

Set against a gentle rocking syncopation, this familiar Austrian carol takes on new life. A baritone soloist is used on the middle verse. All parts divide except the alto. A beautiful arrangement for a cappella use.

This unaccompanied setting of the well-known carol uses three male soloists (one baritone, two bass) as the kingsâ?? voices. The oboe reinforces the melody, dances around it, and even quotes Greensleeves. The divisi chorus sings backup to the kings and all the refrains, which are set differently. Five full verses are used, but due to the fun and creativity present in the writing, the piece unfolds in a very fulfilling way.

Matthew Culloton has created a fresh and stunning arrangement of this popular Christmas carol. Though a cappella, the lower three parts sometimes act as accompaniment with neutral syllables, granting the cherished melody prominence. The carol is frequently interjected by Culloton’s own lovely melody, conveying a ritornello form. The composer’s intimate knowledge of choral writing is apparent in his arrangement. A true treasure.

Written by a professional vocal quartet of women named VIDA, and inspired by the stories of Sudanese basket weavers who expressed the pain and hope experienced by those in the famine of the 1980s, this is a most unusual and fascinating song.

A clever arrangement of this minor key American folk song, it often plays the women against the men, and vice versa, as they tell the story of “where you gonna run to,” thereby creating drama and fun as the story evolves. Conservative ranges and little divisi make this accessible to many choirs.

A tender setting of the classic English lullaby, this arrangement works wonderfully for treble choirs of any age. The melody is shared by sopranos and altos, as the delicate flute part adds a shimmer to the accompaniment. Golden Slumbers works for any time of the year, even for the holiday season.

This beautiful song is a true gem. The evocative, picturesque poem depicts a Japanese garden covered in snow, making it a great selection for winter or spring. The optional clarinet part is a delightful addition to the lyricism of the treble voices. Text by David Bengtson.

The composer of the visionary “Japanese Garden” now brings us a fresh take on a popular Shakespeare text. The contemporary music treatment of ABA form is stark for the ‘A’ sections and hopeful for the ‘B’ section (“But my kisses bring again”). Ideal for medium to advanced women’s choir.

The refrain of this well-loved melody is believed to have been a signature tune of the London waits, or watchmen, as they made their hourly calls. This particular frosty morning they are also announcing Christ’s birth. Matthew Culloton skillfully arranges “Past Three O’ Clock” for three-part treble voices and flute for Christmas concert or festival.

A new, introspective setting of “Away in a Manger” sets the humble birth scene with gentle, shifting harmonies and an optional solo for the middle verse. “Wondrous Birth” is a setting of a German text (sung in English) that maintains a hymnlike quality. Soft and transparent, this score would be a lovely benediction or quiet end to a service or concert in Advent.

The traditional English carol is given a bouyant and joyful treatment in this arrangement for choir, cello, and harp. The choir also paints the sound of the tolling bells in the background while the tenors get a solo verse. The piano is a great substitute for the harp part if necessary.